Sierra Dague - Core Response #2

 I was excited that this week's reading, “The Spy in the Gray Flannel Suit” by Steven Cohan, discussed the film in reference to the post-war period’s trepidations regarding gender norms. One of the scholars he referenced, George Chauncey, I studied in depth last semester. I largely agree with Cohan’s analysis and want to provide even more context and discussion of how this is portrayed in North by Northwest. 

Firstly, Cohan describes how in the post-war period people were worried that the American male had drastically changed– losing much of his manliness due, in part, to a need to be protected rather than doing the protecting after experiencing the trauma of war. However, I think this anxiety regarding masculinity is a culmination of much more than PTSD. With the uprise in industrialization and capitalism, middle class men were no longer self-sufficient. The ‘rough’ ‘manly’ work was being completed by blue-collar, lower class men while they were stuck behind a desk– dependent on another man for a salary. This, too, jeopardized their masculine status. 

Partly in response to that, the creation of a ‘gay’ and ‘straight’ identity formed. Previously, men could sleep with other men and still be considered ‘normal,’ just so long as they were the ‘active’ ‘manly’ participant, dominating the other man. ‘Normalcy’ (as we would now call it, straightness) was not dependent on who the sexual partner(s) was, but on which part of the act you performed. In order to restore their masculinity, middle class men altered this definition. Claiming that they only slept with women and these lower class men who weren’t so strict with the gender of their sex partners weren’t as masculine as them. 

Yet, World War 2 created a largely sex/gender segregated society. Not only did a gay identity now exist, but men were tossed into a man-only world– away from any prospect of living a heteronormative life. More men were becoming educated about the possibility of sleeping with men at the exact same time that they were confined to man–only bunks. However, the government did not like the prospect of a ‘gay’ society post-war. There were now countless unemployed men who knew how to fight. Fear of a veteran uprising, in part, caused the government to encourage heteronormative marriage and reinforce the nuclear family ideal. The idea was that commitment to a wife and kids would prevent veterans from revolting against the government and require them to submit to the capitalistic economy (no matter how flawed it was). 

While this is but a generalized overview, it does show just how unstable masculinity was in America at this time. It is so interesting to see this depicted through North by Northwest. 

Yet, what I’m more interested in, is the film’s depiction of femininity and womanhood through Eve’s character. This, too, has deep roots in the changing gender dynamics post-WWII. Previously, women (mainly middle/upper class white women) were confined to the private sphere. They had little job prospects and were financially dependent on husbands. Yet, with husbands being drafted to war, women had to enter the social sphere to maintain production. As the war ended, veterans and the government wanted the women to return to their original position in the private sphere. Yet, why would women who just gained this newfound freedom and independence do so? 

North by Northwest, I believe, handles these contrasting viewpoints subtly and impressively well (not that I necessarily am in support of its depiction of femininity, just that it accomplished its goal in an impressive manner). The film depicts Eve as an independent working woman. This is sure to appeal to their feminine audience; it allows women viewers to connect with Eve, perhaps even aspire to be her. At the same time, however, the film limits Eve to her sexual capabilities. Eve acquired her job through her sexual connection to Vandamm and her usefulness to Vandamm and the Professor is limited to her seduction capabilities. Thus, North by Northwest encourages women to appreciate its ‘progressive’ depiction of womanhood while continuing to limit women’s possibilities. In this same manner, the film continuously requires Eve to depend upon a man; She depends upon Roger to convince Vandamm of Eve’s dedication through the fake shooting, she depends upon Roger to save her from getting on the plane, and she depends upon him to not fall off the cliff. Finally, rather than continuing her life of independence, she quits the act and devotes herself to Roger.